inicio > discography > CD Turina x Turina
PROLOGUE TO THE CD TURINA X TURINA
By José Luis Turina
As is often the way, a seemingly insignificant event can have unexpected consequences in the long run. in this case, the trigger was a casual conversation with the members of Azahar Ensemble, only a few minutes after the second of two concerts commemorating the 30th anniversary of the Spanish National Youth Orchestra, held in the Auditorio Nacional de Música in Madrid in autumn 2014. "We play more and moree concerts abroad and we are always asked to include a Spanish piece from Falla, Albéniz, Turina and Granados' generation in our repertoire and... we have none!", I recall them saying.
Truth be told, none of those composers wrote any work for wind quintet, despite it already being a consolidated instrumental ensemble in the early 19th century; Danzi and Reicha are undoubtedly the most representative composers of that period, and there was a steady increase in the repertoire thereafter and during the second half of the 20th century, thanks to many European and American composers, among which unfortunately there was no Spanish composer. Incidentally, the great Spanish composers of that time did not pay particular attention to chamber music for classic ensembles -except for Joaquín Turina, who composed a great deal of piano duets and trios, string quartets, etc., and Granados, who composed piano quintets. But neither Albéniz nor Falla ever catered to this genre.
Only a few weeks after that fortuitous conversation, the members of Azahar Ensemble received my arrangement for wind quintet of Sacromonte, the last movement of Danzas gitanas by Joaquín Turina. Having received their blessing, the arrangement turned out to be the initial approach to a job that for two years took up many hours of my work, and still does nowadays, in light of the success it has achieved. Danzas gitanas was followed by La oración del torero; then came Mujeres españolas, and finally the most difficult challenge: Sevilla. With this CD already in mind, the work ended up including the arrangement of my Variaciones sobre Temas de Turina, originally composed for piano for four hands in 2009 as a gift to my father, to be performed at the tribute from his children, grandchildren, nieces, nephews and extended family in celebration of his 90th birthday.
Successful work, as I said, but above all satisfactory for various reasons: because it is my grandfather's music that I have enjoyed since my early years -first as a listener, and eventually as a pianist- and, moreover, because of the opportunity to work so closely with Azahar Ensemble, with whom I have maintained a close bond, beyond a merely professional relationship, right from the very moment of its foundation within the Spanish National Youth Orchestra. Chamber music cannot be performed at a higher level, nor can you bring together a group of people with as much magic, personality and camaraderie as Azahar Ensemble. It is a true privilege to work with them and for them.
PROGRAM NOTES
By Stanley Hanks
(Notas to the booklet of the CD Turina x Turina, of Azahar Ensemble – 2018)
Fragrances of love songs and orange blossoms -azahares- introduce the Andalusian mood of the pieces arranged for woodwind quintet on this CD. At the onset, three strikingly distorted fortissimo chords mark the 12/8 soleá meter used by Joaquín Turina to evoke the atmosphere -the "aromas", in his own words- of the Orange Tree Courtyard next to Seville Cathedral. During the ten years Turina spent in Paris, his compatriots Isaac Albéniz and Manuel de Falla taught him how to blend Iberian folklore with Impressionist harmonies, and Sevilla became the first work he wrote in his new "Andalusian" style. Back in Seville for a visit in 1908, he premièred it himself at the piano.
El Jueves Santo, the next movement in the cycle, is "the expression of a pure Sevillian who did not know Seville until he left it". Turina evokes the madrugá procession at midnight on Maundy Thursday: we hear far-off trumpet fanfares and drum rolls resounding in quasi-Stravinskian polytonality as the cofradía, the brotherhood, draws near and emerges from the shadows before it recedes once more into the mystery of darkness. Almost exactly at the same time, Janacek portrayed a similar drawing-near and moving-away of a procession in The Madonna of Frydek (On An Overgrown Path), but in an intentionally less elaborate style.
An animated third movement, La feria, breaks in with the rhythmic flamenco stamping of zapateados and seguidilla melodies from Seville's week-long April fair. "But I've never been much of a festival-goer", Turina admitted: soon enough, meditative wistfulness returns in several passages until the movement closes in a festive romp brimming with daunting hemiolas.
Turina composed La oración del torero ("The Bullfighter's Prayer") in 1924, ten years after having returned to Spain. A wistful, mysterious pasodoble theme (here played by the oboe) and a dotted theme with repeated notes alternate with copla recitatives: the outer world, where the toreador has to prove his valour and courage in public, contrasts thereby with the beautiful inner world of his longings, his fear, and his faith. The music sets in with agitation and unrest, then gains in passion, appeasing itself at times until the moment finally arrives where the toreador will have to face the bull in the ring, risking mortal peril. This is the point, however, where he utters his prayer, and the music gains tranquility once more, to end in a lulling reverie.
The zambra has its origins in an ancient ritual of the moriscos (Muslims converted to Christianity by force): the empty fifths and octaves in the first chords seem to be evoking the emptiness of the landscape after their violent expulsion. Everything is indeed serious and bleak in this first movement of the Five Gypsy Dances, op. 55, which seems to recall the archaic harshness of Manuel de Falla's Fantasia Baética. A similar lilt in the same key of D Minor is initially taken up in the 2nd piece, Dance of Seduction, yet several interspersed moments of veiled tenderness with Impressionist dominant seventh-ninth-chord harmonies come to soften the preceding movement's Phrygian-mode austerity. We can almost hear the archaic flute from Debussy's Little Shepherd returning in Turina's 3rd movement, Ritual Dance. The 4th movement is unabashedly Impressionist: water seems to spring up joyfully from the fountains of the Generalife palace near Granada, portrayed with flowing arpeggios quite similar to those in Ravel's Jeux d'eau. The Sacromonte gypsy quarter in Granada is evoked in the last movement, the arrangement of which lay at the origin of this CD: this music sounds so natural in José Luis Turina's wind quintet version that it is now hard to imagine the difficult task he faced in transcribing a texture so idiomatically conceived at the outset for piano.
The grandson has chosen to arrange the second of three sets in which Joaquín Turina chose to evoke the charm and flair of the women of Spain: Mujeres españolas, op. 73. Like Bizet's Carmen, The Gypsy Girl in Love seems to play a subtle game with her suitor, peeking over her fan, hesitating, provoking, but never giving in. The Flower-Girl has a myriad of colors and fragrances to offer in a series of surprising modulations. Charming ternary rhythms likewise hold sway in The Maiden Who Dances: she giddily twirls and whirls with her skirt but is never brought out of step by intricate hemiolas. Girls from the agricultural region of Murcia are just as lovely, although the appeal is more rural and down-to-earth (La murciana guapa). Joaquín Turina could not help but conclude his cycle with a full-bodied homage to the joyful exuberance of the women of Seville, his home town.
In 2009, José Luis Turina, the grandson, composed a series of playful piano four-hand variations on some of his grandfather's musical themes as part of a homage on the occasion of the 90th birthday of his father, the painter also called José Luis Turina. These are the themes by Joaquín, the composer, that José Luis, the painter, most loved. The melodies stem from the Piano Trio (op. 35), the Oración del torero (op. 34), the tin soldiers in Niñerías (op. 21), the second Christmas portrait (op. 16), the very well-known song Cantares, the 2nd, Maundy Thursday procession movement of Sevilla (op. 2, featured above), and the Zapateado (flamenco foot-stamping) from the Three Andalusian Dances, op. 8.
Azahar Ensemble: A Magical Confluence of Young and Native Talent in Turina x Turina
By Alba María Yago
(Review published on the website of the magazine Doce Notas on April 2, 2019)
Paying homage to the Sevillian composer Joaquín Turina (1882–1949), Azahar Ensemble presented their debut album last month.
Founded in 2010, this wind quintet's first CD, Turina x Turina, features Variations on Themes by Turina by composer José Luis Turina (composed in 2009 and adapted in 2015 for wind quintet), as well as adapted works such as Sevilla Op. 2, La Oración del Torero Op. 34, Danzas Gitanas Op. 55, and Mujeres Españolas Op. 73, by Joaquín Turina.
The album's title reflects the shared surname of its composers: Joaquín Turina (1882–1949) and José Luis Turina (1952). With this play on names, Azahar Ensemble introduces their debut album, which consists of arrangements of works by the Sevillian composer and his grandson, organized according to their opus numbers, thus continuously contrasting in language and style.
The fact that they had the support, friendship, and guidance of one of the composers makes this album a benchmark for these pieces. Furthermore, the quintet had previously performed the work La Novia del Viento at the Santander International Festival in 2015, a piece that the composer himself dedicated to the group, demonstrating the close relationship between them.
Founded in 2010 and trained under the tutelage of the prestigious bassoonist Sergio Azzolini in Switzerland (thanks to a scholarship awarded by the National Youth Orchestra of Spain and the BBVA Foundation), the group embarked on a successful career, winning the "ORPHEUS Swiss Chamber Music Competition". Just a year later, they won 2nd prize in the "El Primer Palau Music" Competition in Barcelona. In 2014, demonstrating their high level of skill and virtuosity, they won 2nd prize (with the first prize not awarded) and the audience prize at the 63rd International ARD Music Competition in Munich, marking the beginning of an international career that has taken them to perform in venues such as the Vienna Musikverein, Berlin Philharmonie, Munich Prinzregententheater, Essen Philharmonie, Salzburg Mozarteum, and at festivals such as the Würzburg Mozartfest, Santander International Festival, and Baden-Baden Festspielhaus, among others.
This international exposure led them to Montreal, Canada, in 2016, invited by the Ensemble Pentaedre to participate in the "Les Journées des Vents" Festival. In 2018, they returned to Canada, this time to the city of Calgary as the resident quintet for the "Honens International Piano Competition".
As a chamber group, they have made recordings for Bayerischer Rundfunk, SWR, Deutschland Radio Kultur, Radio Clásica España, SRF2, France Musique, and Catalunya Música, and have also given masterclasses at various conservatories across Spain.
First, we heard Sevilla Op. 2, a suite with three movements: Bajo los naranjos, El Jueves Santo a media noche, and La Feria. Entitled 'Pictorial Suite' and originally composed for piano, it was dedicated to the cellist and pianist Gaspar Cassadó, with the composer himself premiering it in his city in 1908. Composed while studying at the "Schola Cantorum" in Paris -where he was influenced by the French impressionism of Debussy and Ravel-, Turina received advice from fellow composer Isaac Albéniz, who suggested that he turn his creative gaze towards the rich folklore of his homeland. This resulted in a masterful stylization of the folklore of his native Andalusia. The different timbres of the wind quintet instruments bring a new touch to the arrangements made by the composer's nephew. The result is truly admirable, with the ensemble managing to convey that characteristic Spanish touch through its famous Andalusian cadences. The choice to start the album with Sevilla is noteworthy, as the rhythmic line played with such character by the bassoonist -especially in El Jueves Santo a Media Noche -draws us into the rhythms and colors we will hear throughout the recording.
Next, they present La Oración del Torero Op. 34. Originally written for lute quartet -at the request of the Aguilar Quartet, recipients of significant works from several composers of the Generation of '27- and more commonly heard in the version by Bartolomé Pérez Casas for string orchestra, the quintet perfectly captures a small, descriptive tableau. The double-tonguing effects by the flute and bassoon evoke the plucked strings of a guitar. The main melody, played so elegantly by the oboist, along with the subsequent response from the bassoon, makes us witnesses to the bullfighter's prayer in the chapel of the bullring, which masterfully merges with one of the most refined pasodobles ever written.
Next, they present Danzas Gitanas Series 2 Op. 55 (1930), a series that reflects one of the characteristic aesthetic lines of the Sevillian composer’s music: the connection between geography and dance. Dedicated to the pianist José Cubiles, this work showcases Turina at his most mature, writing each dance with extreme conciseness and aspiring to create a cohesive whole, which is precisely what Azahar Ensemble achieves with their excellent performance.
In la Zambra, with its typical tripartite structure of dance–copla–dance, they make a brief introduction in adagio -with chords without the third degree- before the horn player breaks this intimacy with his temperamental sound. Following the sensual melodies performed by the bassoon, we move on to Danza de la Seducción, a piece of great melodic inventiveness, where the quintet’s interpretation makes it possibly the freshest and lightest of all the dances, without losing that Andalusian touch provided by the cadences and folk melodies of both the flute and oboe. Two simple motifs played by the latter and the clarinet, along with their subsequent development in a question-and-answer form, constitute the Danza Ritual, which could be described as the most purely rhythmic of the dances. In Generalife, we encounter an arpeggiated interplay between the oboe and clarinet, alternating their timbres like the water games of miraculous simplicity, reminiscent of El Amor Brujo by Falla. Finally, with Sacro-Monte, homage is paid to the polo and farruca (along with Generalife), clearly indicating Turina’s intent for cohesion as he alludes to the initial Zambra in this final dance.
Lastly, we hear Mujeres Españolas Op. 73. This is the second series of Mujeres Españolas, in which Turina interestingly portrays five women: La Gitana Enamorada, La Florista, La Señorita Que Baila, La Murciana Guapa, and La Alegre Sevillana. With this arrangement for wind quintet -originally composed for piano- these portraits become even more vivid, full of gentleness and vigor, successfully conveying the spirit of the protagonists, forming the poetic foundation of the work. With its different timbres and textures, the ensemble achieves a key lyrical quality, giving the work an atmospheric value without which it would be impossible to understand this music, with touches of seguidillas and guajiras that evoke dance and festivity.
In summary, with this performance, the ensemble showcases the power of rhythm combined with the cadence and harmonic expression of Andalusian folk music. In short, it is pure dance.
As a grand finale, the recording, which lasts just over an hour, culminates with Variations on Themes by Turina. Originally written for piano four hands, the composer defines it as a "simple divertimento of a pleasant character". It was composed as part of a surprise tribute to celebrate the 90th birthday of his father, José Luis Turina. The piece concludes with a selection of themes woven together in the classic form of Theme with Variations, but without strict classical rigor, where not all the content derives from a single theme.
In the first variation, Soleares, from the Piano Trio Op. 35, the ensemble presents a different, more compact timbre, perhaps more mature and serious, which persists throughout the variations. The second variation reminds us of something previously heard on this album: the opening bars of La Oración del Torero Op. 34. The same happens with the fifth variation, Cantares, which recalls pieces already heard, alternating El Jueves Santo a medianoche, the second movement of the suite Sevilla Op. 2, and the Poem in the Form of Songs Op. 19. The fourth variation could be said to be the most special, as it comes from the final theme of the second scene of Navidad Op. 16, and is dedicated precisely to his father. With the final variation, we return to the dance titled Zapateado, derived from the third of the Three Andalusian Dances Op. 8.
Finally, with a coda reminiscent of the theme from the initial Piano Quartet, Azahar Ensemble showcases their great versatility, complicity, and sensitivity in this work. The result: an album rich in timbre and homogeneity, where expressive richness characterizes a performance that is both passionate and elegant. Undoubtedly, another step forward in their path of success.
Link to Doce Notas website
Azahar Ensemble: For Turina with Respect, Affection, and Admiration
By Michael Thallium
(Interview published on Michael Thallium’s website, July 3, 2019)
In February 2019, the Azahar Ensemble presented their CD Turina x Turina in Madrid, released by the German label Hänssler. Winners of the 2nd prize at the 63rd ARD International Music Competition in Munich, we had the opportunity to interview Frederic Sánchez (flute), Alba Carmona (oboe), Antonio Lagares (horn), Pepa García (bassoon), and Miquel Ramos (clarinet), the members of this wind quintet. The truth is, they radiate enthusiasm. Talking to them and listening to what they say, you can understand why they are so well-coordinated musically: it is a consequence of the respect, affection, and admiration they have for each other. They are a vibrant and highly connected group that is succeeding in Central Europe. Alba and Antonio are a couple and the recent parents of a daughter, which brings its own challenges in balancing professional commitments with family life. We began the conversation by asking Frederic, who possesses a deep, powerful voice that contrasts with the melodious and delicate sound of his instrument, the flute. Soon, everyone joined in, demonstrating that respect, affection, and admiration we mentioned earlier.
Could you tell us one personal quality of each of your colleagues and how that quality is reflected in their way of performing?
Frederic: Wow! This is a very interesting and complicated question. The problem is that it's hard to name just one... For Antonio, I would say he's chameleonic; he has many facets. He can be very funny or serious, very relaxed or very nervous. One thing he's not is flat.
Miquel: Antonio is someone who tries to understand different points of view and, at certain times, pulls us out of deep waters...
Pepa: Yes, precisely. He's positioned in the middle of the group, and that's very symbolic. He connects the two guys with the two girls in the group.
Miquel: What I'm about to say might seem trivial...
Antonio laughs and says: "I thought I was the trivial one". The others laugh as well.
Miquel: Well, let me finish my sentence. He's a delicate horn player, and it shows in his personality. He doesn't overshadow the others. I love that. When I think of brass players, Antonio doesn't come to mind. Sometimes he goes against the nature of his own instrument to let others shine. That's something we could say about each of us individually as well, but if there's one thing that characterizes him, it's that: the ultimate example of adaptability. He's someone who cares about others and helps a lot, with great sensitivity.
Frederic: I would say Alba is inspiring. When she sees something clearly, bam!, she goes for it. About Miquel, I would highlight that he is elegant, in every sense of the word. He's someone who knows how to keep composure. Pepa is like a pillar, someone who is very clear about things and transmits that clarity to the group.
Pepa: Alba is like light, very luminous, with very positive energy.
And you, Frederic, what word defines you?
Frederic: Oh! I don't know. I can't highlight just one thing...
Miquel: Well, to start, I'd say Frederic is energy, and that's evident in the way he talks. He has speed, virtuosity. He's very quick. In calm situations, he might even get nervous, either because he's already seen what's coming or because he needs a different pace.
Frederic: The truth is that each of these qualities we've mentioned individually could be said about all of us as well. And that's why the group works. Because we can find the same qualities in almost all of us.
Alba: Yes, we complement each other.
Miquel: Alba is someone who especially inspires me. She has a bit of nonconformity, the need to keep searching. And until she's convinced of something, she doesn't stop. And that's very good because it inevitably leads you to improve, reinvent yourself, and rethink things.
And Miquel, what would you say about Pepa?
Miquel: I always tell her she's the best bassoonist in the world! She's the person I met the latest, and she's the one who ultimately directs everything, guiding us all with total calm and awareness.
Why did you choose the name Azahar for the ensemble?
Alba: We had to apply for a competition. First, we got a scholarship from JONDE. To get the scholarship, we chose a somewhat random name, Quinteto Intuición, but we felt a bit embarrassed to use that name for the competition. So we thought of other options, and finally, Azahar sounded nice to us. It turned out to be a flower that always has five petals. We liked the idea, we liked the aroma. Since we were abroad, it suggested something Spanish. We chose that name for the competition, saying that if we won anything, we'd keep it. And that's how it happened.
What has kept you together from 2010 until now?
Antonio: Believing that we can do something with this project. It wasn't just about getting a scholarship, it wasn't just about preparing for a competition, and it wasn't just about winning it. We always have a challenge ahead. There's always something that makes us believe this can work.
Alba: Suddenly, you find yourself with five people with whom you have a dialogue while playing that you can't achieve elsewhere. None of us falters.
Pepa: It's not just about believing; it's about feeling that you're part of something very special and unique. We're all heading in the same direction, which doesn't mean we always think the same.
Alba: The key is flexibility. We are very flexible with our instruments and sacrifice their sound for the sake of the ensemble.
Regarding your latest recording, why did you choose Turina?
[Smiles] Antonio: In the end, the album is like a perfect little treat. Because we were all part of JONDE, because they gave us the scholarship...
Alba: Who gave us the scholarship? Who was the person who spoke for us?
Antonio: The director of JONDE, José Luis Turina. The treatment we received during our time there, the trust and affection he always showed us. When we asked him to write a piece for us, he didn't hesitate. A week later, we already had the arrangement in our inbox. Then we suggested releasing an album with pieces that were out of the ordinary. And he said yes. It also happened that we were going to perform at the Berlin Philharmonie and that Deutschland Radio was recording us. Turina told us he didn't want to record the quintet classics. He wanted to take a chance on something different...
Pepa: The CD is the completion of the circle.
Antonio: In the promotional video for the CD, there's a painting that reflects part of the Turina family tradition. Something super funny: painter, composer, painter, composer... And then another musician, Guillermo, the son of José Luis. The variations on Turina's themes were composed by José Luis for his father’s 90th birthday, using themes from his grandfather, including the Navidad, that Joaquín Turina dedicated to his son, José Luis's father. You start connecting the dots, and it becomes clear. Sevilla, Op. 2, is the first work in the Spanish style. Joaquín Turina went to study in Paris. At the premiere of his Quintet for Strings and Piano, Op. 1, among the audience were Falla and Albéniz. Albéniz commented that they shouldn’t write in such a Parisian or European style. As a result, Joaquín Turina composed Sevilla, the piece that opens the CD.
Pepa: José Luis Turina has been key in our career.
Alba: He has done all the arrangements without hesitation.
Frederic: And the quality is extraordinary. José Luis masters the art of writing for wind quintet.
Alba: In fact, years ago, he wrote us a wonderful piece that we want to record someday.
And finally, what do you want to achieve?
Frederic: To elevate the wind quintet and put it on the same level as traditionally accepted ensembles, like the string quartet.
Michael Thallium
Global & Greatness Coach
Link to Michael Thallium's website
By José Luis Turina
As is often the way, a seemingly insignificant event can have unexpected consequences in the long run. in this case, the trigger was a casual conversation with the members of Azahar Ensemble, only a few minutes after the second of two concerts commemorating the 30th anniversary of the Spanish National Youth Orchestra, held in the Auditorio Nacional de Música in Madrid in autumn 2014. "We play more and moree concerts abroad and we are always asked to include a Spanish piece from Falla, Albéniz, Turina and Granados' generation in our repertoire and... we have none!", I recall them saying.
Truth be told, none of those composers wrote any work for wind quintet, despite it already being a consolidated instrumental ensemble in the early 19th century; Danzi and Reicha are undoubtedly the most representative composers of that period, and there was a steady increase in the repertoire thereafter and during the second half of the 20th century, thanks to many European and American composers, among which unfortunately there was no Spanish composer. Incidentally, the great Spanish composers of that time did not pay particular attention to chamber music for classic ensembles -except for Joaquín Turina, who composed a great deal of piano duets and trios, string quartets, etc., and Granados, who composed piano quintets. But neither Albéniz nor Falla ever catered to this genre.
Only a few weeks after that fortuitous conversation, the members of Azahar Ensemble received my arrangement for wind quintet of Sacromonte, the last movement of Danzas gitanas by Joaquín Turina. Having received their blessing, the arrangement turned out to be the initial approach to a job that for two years took up many hours of my work, and still does nowadays, in light of the success it has achieved. Danzas gitanas was followed by La oración del torero; then came Mujeres españolas, and finally the most difficult challenge: Sevilla. With this CD already in mind, the work ended up including the arrangement of my Variaciones sobre Temas de Turina, originally composed for piano for four hands in 2009 as a gift to my father, to be performed at the tribute from his children, grandchildren, nieces, nephews and extended family in celebration of his 90th birthday.
Successful work, as I said, but above all satisfactory for various reasons: because it is my grandfather's music that I have enjoyed since my early years -first as a listener, and eventually as a pianist- and, moreover, because of the opportunity to work so closely with Azahar Ensemble, with whom I have maintained a close bond, beyond a merely professional relationship, right from the very moment of its foundation within the Spanish National Youth Orchestra. Chamber music cannot be performed at a higher level, nor can you bring together a group of people with as much magic, personality and camaraderie as Azahar Ensemble. It is a true privilege to work with them and for them.
PROGRAM NOTES
By Stanley Hanks
(Notas to the booklet of the CD Turina x Turina, of Azahar Ensemble – 2018)
Fragrances of love songs and orange blossoms -azahares- introduce the Andalusian mood of the pieces arranged for woodwind quintet on this CD. At the onset, three strikingly distorted fortissimo chords mark the 12/8 soleá meter used by Joaquín Turina to evoke the atmosphere -the "aromas", in his own words- of the Orange Tree Courtyard next to Seville Cathedral. During the ten years Turina spent in Paris, his compatriots Isaac Albéniz and Manuel de Falla taught him how to blend Iberian folklore with Impressionist harmonies, and Sevilla became the first work he wrote in his new "Andalusian" style. Back in Seville for a visit in 1908, he premièred it himself at the piano.
El Jueves Santo, the next movement in the cycle, is "the expression of a pure Sevillian who did not know Seville until he left it". Turina evokes the madrugá procession at midnight on Maundy Thursday: we hear far-off trumpet fanfares and drum rolls resounding in quasi-Stravinskian polytonality as the cofradía, the brotherhood, draws near and emerges from the shadows before it recedes once more into the mystery of darkness. Almost exactly at the same time, Janacek portrayed a similar drawing-near and moving-away of a procession in The Madonna of Frydek (On An Overgrown Path), but in an intentionally less elaborate style.
An animated third movement, La feria, breaks in with the rhythmic flamenco stamping of zapateados and seguidilla melodies from Seville's week-long April fair. "But I've never been much of a festival-goer", Turina admitted: soon enough, meditative wistfulness returns in several passages until the movement closes in a festive romp brimming with daunting hemiolas.
Turina composed La oración del torero ("The Bullfighter's Prayer") in 1924, ten years after having returned to Spain. A wistful, mysterious pasodoble theme (here played by the oboe) and a dotted theme with repeated notes alternate with copla recitatives: the outer world, where the toreador has to prove his valour and courage in public, contrasts thereby with the beautiful inner world of his longings, his fear, and his faith. The music sets in with agitation and unrest, then gains in passion, appeasing itself at times until the moment finally arrives where the toreador will have to face the bull in the ring, risking mortal peril. This is the point, however, where he utters his prayer, and the music gains tranquility once more, to end in a lulling reverie.
The zambra has its origins in an ancient ritual of the moriscos (Muslims converted to Christianity by force): the empty fifths and octaves in the first chords seem to be evoking the emptiness of the landscape after their violent expulsion. Everything is indeed serious and bleak in this first movement of the Five Gypsy Dances, op. 55, which seems to recall the archaic harshness of Manuel de Falla's Fantasia Baética. A similar lilt in the same key of D Minor is initially taken up in the 2nd piece, Dance of Seduction, yet several interspersed moments of veiled tenderness with Impressionist dominant seventh-ninth-chord harmonies come to soften the preceding movement's Phrygian-mode austerity. We can almost hear the archaic flute from Debussy's Little Shepherd returning in Turina's 3rd movement, Ritual Dance. The 4th movement is unabashedly Impressionist: water seems to spring up joyfully from the fountains of the Generalife palace near Granada, portrayed with flowing arpeggios quite similar to those in Ravel's Jeux d'eau. The Sacromonte gypsy quarter in Granada is evoked in the last movement, the arrangement of which lay at the origin of this CD: this music sounds so natural in José Luis Turina's wind quintet version that it is now hard to imagine the difficult task he faced in transcribing a texture so idiomatically conceived at the outset for piano.
The grandson has chosen to arrange the second of three sets in which Joaquín Turina chose to evoke the charm and flair of the women of Spain: Mujeres españolas, op. 73. Like Bizet's Carmen, The Gypsy Girl in Love seems to play a subtle game with her suitor, peeking over her fan, hesitating, provoking, but never giving in. The Flower-Girl has a myriad of colors and fragrances to offer in a series of surprising modulations. Charming ternary rhythms likewise hold sway in The Maiden Who Dances: she giddily twirls and whirls with her skirt but is never brought out of step by intricate hemiolas. Girls from the agricultural region of Murcia are just as lovely, although the appeal is more rural and down-to-earth (La murciana guapa). Joaquín Turina could not help but conclude his cycle with a full-bodied homage to the joyful exuberance of the women of Seville, his home town.
In 2009, José Luis Turina, the grandson, composed a series of playful piano four-hand variations on some of his grandfather's musical themes as part of a homage on the occasion of the 90th birthday of his father, the painter also called José Luis Turina. These are the themes by Joaquín, the composer, that José Luis, the painter, most loved. The melodies stem from the Piano Trio (op. 35), the Oración del torero (op. 34), the tin soldiers in Niñerías (op. 21), the second Christmas portrait (op. 16), the very well-known song Cantares, the 2nd, Maundy Thursday procession movement of Sevilla (op. 2, featured above), and the Zapateado (flamenco foot-stamping) from the Three Andalusian Dances, op. 8.
Azahar Ensemble: A Magical Confluence of Young and Native Talent in Turina x Turina
By Alba María Yago
(Review published on the website of the magazine Doce Notas on April 2, 2019)
Paying homage to the Sevillian composer Joaquín Turina (1882–1949), Azahar Ensemble presented their debut album last month.
Founded in 2010, this wind quintet's first CD, Turina x Turina, features Variations on Themes by Turina by composer José Luis Turina (composed in 2009 and adapted in 2015 for wind quintet), as well as adapted works such as Sevilla Op. 2, La Oración del Torero Op. 34, Danzas Gitanas Op. 55, and Mujeres Españolas Op. 73, by Joaquín Turina.
The album's title reflects the shared surname of its composers: Joaquín Turina (1882–1949) and José Luis Turina (1952). With this play on names, Azahar Ensemble introduces their debut album, which consists of arrangements of works by the Sevillian composer and his grandson, organized according to their opus numbers, thus continuously contrasting in language and style.
The fact that they had the support, friendship, and guidance of one of the composers makes this album a benchmark for these pieces. Furthermore, the quintet had previously performed the work La Novia del Viento at the Santander International Festival in 2015, a piece that the composer himself dedicated to the group, demonstrating the close relationship between them.
Founded in 2010 and trained under the tutelage of the prestigious bassoonist Sergio Azzolini in Switzerland (thanks to a scholarship awarded by the National Youth Orchestra of Spain and the BBVA Foundation), the group embarked on a successful career, winning the "ORPHEUS Swiss Chamber Music Competition". Just a year later, they won 2nd prize in the "El Primer Palau Music" Competition in Barcelona. In 2014, demonstrating their high level of skill and virtuosity, they won 2nd prize (with the first prize not awarded) and the audience prize at the 63rd International ARD Music Competition in Munich, marking the beginning of an international career that has taken them to perform in venues such as the Vienna Musikverein, Berlin Philharmonie, Munich Prinzregententheater, Essen Philharmonie, Salzburg Mozarteum, and at festivals such as the Würzburg Mozartfest, Santander International Festival, and Baden-Baden Festspielhaus, among others.
This international exposure led them to Montreal, Canada, in 2016, invited by the Ensemble Pentaedre to participate in the "Les Journées des Vents" Festival. In 2018, they returned to Canada, this time to the city of Calgary as the resident quintet for the "Honens International Piano Competition".
As a chamber group, they have made recordings for Bayerischer Rundfunk, SWR, Deutschland Radio Kultur, Radio Clásica España, SRF2, France Musique, and Catalunya Música, and have also given masterclasses at various conservatories across Spain.
First, we heard Sevilla Op. 2, a suite with three movements: Bajo los naranjos, El Jueves Santo a media noche, and La Feria. Entitled 'Pictorial Suite' and originally composed for piano, it was dedicated to the cellist and pianist Gaspar Cassadó, with the composer himself premiering it in his city in 1908. Composed while studying at the "Schola Cantorum" in Paris -where he was influenced by the French impressionism of Debussy and Ravel-, Turina received advice from fellow composer Isaac Albéniz, who suggested that he turn his creative gaze towards the rich folklore of his homeland. This resulted in a masterful stylization of the folklore of his native Andalusia. The different timbres of the wind quintet instruments bring a new touch to the arrangements made by the composer's nephew. The result is truly admirable, with the ensemble managing to convey that characteristic Spanish touch through its famous Andalusian cadences. The choice to start the album with Sevilla is noteworthy, as the rhythmic line played with such character by the bassoonist -especially in El Jueves Santo a Media Noche -draws us into the rhythms and colors we will hear throughout the recording.
Next, they present La Oración del Torero Op. 34. Originally written for lute quartet -at the request of the Aguilar Quartet, recipients of significant works from several composers of the Generation of '27- and more commonly heard in the version by Bartolomé Pérez Casas for string orchestra, the quintet perfectly captures a small, descriptive tableau. The double-tonguing effects by the flute and bassoon evoke the plucked strings of a guitar. The main melody, played so elegantly by the oboist, along with the subsequent response from the bassoon, makes us witnesses to the bullfighter's prayer in the chapel of the bullring, which masterfully merges with one of the most refined pasodobles ever written.
Next, they present Danzas Gitanas Series 2 Op. 55 (1930), a series that reflects one of the characteristic aesthetic lines of the Sevillian composer’s music: the connection between geography and dance. Dedicated to the pianist José Cubiles, this work showcases Turina at his most mature, writing each dance with extreme conciseness and aspiring to create a cohesive whole, which is precisely what Azahar Ensemble achieves with their excellent performance.
In la Zambra, with its typical tripartite structure of dance–copla–dance, they make a brief introduction in adagio -with chords without the third degree- before the horn player breaks this intimacy with his temperamental sound. Following the sensual melodies performed by the bassoon, we move on to Danza de la Seducción, a piece of great melodic inventiveness, where the quintet’s interpretation makes it possibly the freshest and lightest of all the dances, without losing that Andalusian touch provided by the cadences and folk melodies of both the flute and oboe. Two simple motifs played by the latter and the clarinet, along with their subsequent development in a question-and-answer form, constitute the Danza Ritual, which could be described as the most purely rhythmic of the dances. In Generalife, we encounter an arpeggiated interplay between the oboe and clarinet, alternating their timbres like the water games of miraculous simplicity, reminiscent of El Amor Brujo by Falla. Finally, with Sacro-Monte, homage is paid to the polo and farruca (along with Generalife), clearly indicating Turina’s intent for cohesion as he alludes to the initial Zambra in this final dance.
Lastly, we hear Mujeres Españolas Op. 73. This is the second series of Mujeres Españolas, in which Turina interestingly portrays five women: La Gitana Enamorada, La Florista, La Señorita Que Baila, La Murciana Guapa, and La Alegre Sevillana. With this arrangement for wind quintet -originally composed for piano- these portraits become even more vivid, full of gentleness and vigor, successfully conveying the spirit of the protagonists, forming the poetic foundation of the work. With its different timbres and textures, the ensemble achieves a key lyrical quality, giving the work an atmospheric value without which it would be impossible to understand this music, with touches of seguidillas and guajiras that evoke dance and festivity.
In summary, with this performance, the ensemble showcases the power of rhythm combined with the cadence and harmonic expression of Andalusian folk music. In short, it is pure dance.
As a grand finale, the recording, which lasts just over an hour, culminates with Variations on Themes by Turina. Originally written for piano four hands, the composer defines it as a "simple divertimento of a pleasant character". It was composed as part of a surprise tribute to celebrate the 90th birthday of his father, José Luis Turina. The piece concludes with a selection of themes woven together in the classic form of Theme with Variations, but without strict classical rigor, where not all the content derives from a single theme.
In the first variation, Soleares, from the Piano Trio Op. 35, the ensemble presents a different, more compact timbre, perhaps more mature and serious, which persists throughout the variations. The second variation reminds us of something previously heard on this album: the opening bars of La Oración del Torero Op. 34. The same happens with the fifth variation, Cantares, which recalls pieces already heard, alternating El Jueves Santo a medianoche, the second movement of the suite Sevilla Op. 2, and the Poem in the Form of Songs Op. 19. The fourth variation could be said to be the most special, as it comes from the final theme of the second scene of Navidad Op. 16, and is dedicated precisely to his father. With the final variation, we return to the dance titled Zapateado, derived from the third of the Three Andalusian Dances Op. 8.
Finally, with a coda reminiscent of the theme from the initial Piano Quartet, Azahar Ensemble showcases their great versatility, complicity, and sensitivity in this work. The result: an album rich in timbre and homogeneity, where expressive richness characterizes a performance that is both passionate and elegant. Undoubtedly, another step forward in their path of success.
Link to Doce Notas website
Azahar Ensemble: For Turina with Respect, Affection, and Admiration
By Michael Thallium
(Interview published on Michael Thallium’s website, July 3, 2019)
In February 2019, the Azahar Ensemble presented their CD Turina x Turina in Madrid, released by the German label Hänssler. Winners of the 2nd prize at the 63rd ARD International Music Competition in Munich, we had the opportunity to interview Frederic Sánchez (flute), Alba Carmona (oboe), Antonio Lagares (horn), Pepa García (bassoon), and Miquel Ramos (clarinet), the members of this wind quintet. The truth is, they radiate enthusiasm. Talking to them and listening to what they say, you can understand why they are so well-coordinated musically: it is a consequence of the respect, affection, and admiration they have for each other. They are a vibrant and highly connected group that is succeeding in Central Europe. Alba and Antonio are a couple and the recent parents of a daughter, which brings its own challenges in balancing professional commitments with family life. We began the conversation by asking Frederic, who possesses a deep, powerful voice that contrasts with the melodious and delicate sound of his instrument, the flute. Soon, everyone joined in, demonstrating that respect, affection, and admiration we mentioned earlier.
Could you tell us one personal quality of each of your colleagues and how that quality is reflected in their way of performing?
Frederic: Wow! This is a very interesting and complicated question. The problem is that it's hard to name just one... For Antonio, I would say he's chameleonic; he has many facets. He can be very funny or serious, very relaxed or very nervous. One thing he's not is flat.
Miquel: Antonio is someone who tries to understand different points of view and, at certain times, pulls us out of deep waters...
Pepa: Yes, precisely. He's positioned in the middle of the group, and that's very symbolic. He connects the two guys with the two girls in the group.
Miquel: What I'm about to say might seem trivial...
Antonio laughs and says: "I thought I was the trivial one". The others laugh as well.
Miquel: Well, let me finish my sentence. He's a delicate horn player, and it shows in his personality. He doesn't overshadow the others. I love that. When I think of brass players, Antonio doesn't come to mind. Sometimes he goes against the nature of his own instrument to let others shine. That's something we could say about each of us individually as well, but if there's one thing that characterizes him, it's that: the ultimate example of adaptability. He's someone who cares about others and helps a lot, with great sensitivity.
Frederic: I would say Alba is inspiring. When she sees something clearly, bam!, she goes for it. About Miquel, I would highlight that he is elegant, in every sense of the word. He's someone who knows how to keep composure. Pepa is like a pillar, someone who is very clear about things and transmits that clarity to the group.
Pepa: Alba is like light, very luminous, with very positive energy.
And you, Frederic, what word defines you?
Frederic: Oh! I don't know. I can't highlight just one thing...
Miquel: Well, to start, I'd say Frederic is energy, and that's evident in the way he talks. He has speed, virtuosity. He's very quick. In calm situations, he might even get nervous, either because he's already seen what's coming or because he needs a different pace.
Frederic: The truth is that each of these qualities we've mentioned individually could be said about all of us as well. And that's why the group works. Because we can find the same qualities in almost all of us.
Alba: Yes, we complement each other.
Miquel: Alba is someone who especially inspires me. She has a bit of nonconformity, the need to keep searching. And until she's convinced of something, she doesn't stop. And that's very good because it inevitably leads you to improve, reinvent yourself, and rethink things.
And Miquel, what would you say about Pepa?
Miquel: I always tell her she's the best bassoonist in the world! She's the person I met the latest, and she's the one who ultimately directs everything, guiding us all with total calm and awareness.
Why did you choose the name Azahar for the ensemble?
Alba: We had to apply for a competition. First, we got a scholarship from JONDE. To get the scholarship, we chose a somewhat random name, Quinteto Intuición, but we felt a bit embarrassed to use that name for the competition. So we thought of other options, and finally, Azahar sounded nice to us. It turned out to be a flower that always has five petals. We liked the idea, we liked the aroma. Since we were abroad, it suggested something Spanish. We chose that name for the competition, saying that if we won anything, we'd keep it. And that's how it happened.
What has kept you together from 2010 until now?
Antonio: Believing that we can do something with this project. It wasn't just about getting a scholarship, it wasn't just about preparing for a competition, and it wasn't just about winning it. We always have a challenge ahead. There's always something that makes us believe this can work.
Alba: Suddenly, you find yourself with five people with whom you have a dialogue while playing that you can't achieve elsewhere. None of us falters.
Pepa: It's not just about believing; it's about feeling that you're part of something very special and unique. We're all heading in the same direction, which doesn't mean we always think the same.
Alba: The key is flexibility. We are very flexible with our instruments and sacrifice their sound for the sake of the ensemble.
Regarding your latest recording, why did you choose Turina?
[Smiles] Antonio: In the end, the album is like a perfect little treat. Because we were all part of JONDE, because they gave us the scholarship...
Alba: Who gave us the scholarship? Who was the person who spoke for us?
Antonio: The director of JONDE, José Luis Turina. The treatment we received during our time there, the trust and affection he always showed us. When we asked him to write a piece for us, he didn't hesitate. A week later, we already had the arrangement in our inbox. Then we suggested releasing an album with pieces that were out of the ordinary. And he said yes. It also happened that we were going to perform at the Berlin Philharmonie and that Deutschland Radio was recording us. Turina told us he didn't want to record the quintet classics. He wanted to take a chance on something different...
Pepa: The CD is the completion of the circle.
Antonio: In the promotional video for the CD, there's a painting that reflects part of the Turina family tradition. Something super funny: painter, composer, painter, composer... And then another musician, Guillermo, the son of José Luis. The variations on Turina's themes were composed by José Luis for his father’s 90th birthday, using themes from his grandfather, including the Navidad, that Joaquín Turina dedicated to his son, José Luis's father. You start connecting the dots, and it becomes clear. Sevilla, Op. 2, is the first work in the Spanish style. Joaquín Turina went to study in Paris. At the premiere of his Quintet for Strings and Piano, Op. 1, among the audience were Falla and Albéniz. Albéniz commented that they shouldn’t write in such a Parisian or European style. As a result, Joaquín Turina composed Sevilla, the piece that opens the CD.
Pepa: José Luis Turina has been key in our career.
Alba: He has done all the arrangements without hesitation.
Frederic: And the quality is extraordinary. José Luis masters the art of writing for wind quintet.
Alba: In fact, years ago, he wrote us a wonderful piece that we want to record someday.
And finally, what do you want to achieve?
Frederic: To elevate the wind quintet and put it on the same level as traditionally accepted ensembles, like the string quartet.
Michael Thallium
Global & Greatness Coach
Link to Michael Thallium's website